Contemporary music for cello

CD$G00--w/tr

UNIVERSITY OF TORONTO FACULTY OF MUSIC

2007-2008 SEASON

FACULTY
of MUSIC

UNIVERSITY
OF TORONTO

WHERE GREAT MINDS MEET GREAT MUSIC

Wednesday, January 30, 2008
7:30 pm. Walter Hall

New Music Festival
Presents

Contemporary Music for Cello

Featuring

David Hetherington, cello
with

Peter Longworth, piano
Alexander Sevastian, accordion (bayan)
Heather Schmidt, piano

Elliott Carter

Jacques Hdtu

Christopher William Pierce

Alglrdas Martinaitis

PROGRAM

Figment (1994)
solo cello

Sonate Op. 63 (1998)
cello and piano
Largo- Allegro agitato
Scherzo
Aria

Suite for solo cello (2006)
“Variations on Wondrous Love"

solo cello

Birds of Eden (1981)
electric cello and tape

INTERMISSION

Alexlna Louie

Bringing the Tiger down from the Mountain II (1991)
cello and piano

Sofia Gubaidulina In Croce (1978/91)

cello and bayan

Heather Schmidt Icicles of Fire (2003)

cello and piano

The Faculty of Music gratefully acknowledges the generous support of our season sponsors

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This concert is performed on the Edith McConica Steinway piano

Program Notes

lent for Solo Cello (1994)

ELLIOTT CARTER

The idea of composing a solo cello piece had
been in the back of my mind for many years,
especially since so many cellists had been
urging me to do so. When Thomas Demenga
asked me for such a work, at my 1994 85th
birthday concert in Basel, to be premiered
at a concert he was giving in New York City
sponsored by the Naumburg Foundation, I
promptly set to work. Demenga had already
impressed me greatly when he played some of
my chamber works at my 80 th birthday concert
in Badenweiler, Germany, and especially by
his wonderful recording of these works issued
under the ECM RECORDS New Series.

“Figment” for solo cello presents a variety
of contrasting, dramatic moments using
material derived from a single musical idea.

- Elliott Carter

Sonata for Cello and Piano, Op. 63 (1998)

JACQUES HETU

Jacques Hetu is one of the most performed
Canadian composers, both within Canada
and abroad. After musical studies at the
University of Ottawa, he entered the Montreal
Conservatory where he studied piano, oboe and
composition between 1956 and 1961. During
■' summer of 1959, Hetu studied composition
1 Lukas Foss at the Berkshire Music Center
in Tanglewood, Massachusetts. In 1961, he
obtained the Composition Prize of the Quebec
Music Festival, a grant from the Canada
Council of the Arts and the Prix d'Europe (a very
prestigious prize which had not been awarded
to a composer since 1927). These grants
allowed him to continue his studies in Paris. He
studied composition at the Ecole Normale with
Henri Dutilleux where, in 1963, he was awarded
a Diplome d'Excellence. At the same time, he
took courses in analysis with Olivier Messiaen
at the Paris Conservatory.

The works of Hetu include four symphonies,
concertos for piano (1969), bassoon (1979),
clarinet (1983), trumpet (1987), ondes
Martenot (1990), flute (1991), guitar (1994),
trombone (1995) and a double concerto for
piano and violin (1967); works for voice and
orchestra including Les Abimes du reve (1982)

and the Miss a pro trecentesimo anno (1985,
for the Bach tri-centenary); an opera. La Prix, as
well as several chamber pieces.

The elements of Hetu's style can best
be defined as rico-classical forms and neo¬
romantic expression in a musical language of
20th century techniques.

Composed in 1998, the Sonata for cello and
piano, opus 63 is dedicated to Yegor Dyachkov.
The work was commissioned by Lattitude 45
Arts Promotion with a grant from the Canada
Council for the Arts.

The first few measures of the Largo set
the mood of the entire sonata, which I might
have titled “Looking for the Light." This ‘light'
being none other than the sentiment of serenity
associated with the perfect major chord. The
following Allegro, of which the structure is
derived from the Sonata Form, multiplies the
ascending melodic elements in a constant
interplay between tension and detente.

The Scherzo exploits the contrasts of the
sonorities and colours of the two instruments.
Alternatively soft and violent, this music leads
gradually into the following movement.

The third movement, Aria, uses all the
melodic and harmonic elements of the previous
movements. This movement could be seen in
fact as the starting point of the composition.
The overall structure of the work consists
of variations and theme; complexity of the
variations; simplicity of the theme; shadow and
light

This idea came to me quite naturally
because of the expressive character of the
cello, an instrument which has both dark and
luminous qualities. - Jacques Hetu

Suite for Solo Cello
‘Variations on Wondrous Love'

CHRISTOPHER WILLIAM PIERCE

Written for cellist Rebecca Turner in the fall
of 2006 , the work contains four primary
movements which contain a set of variations
on the hymn ‘What Wondrous Love is This'.
Breaking the traditional role of theme and
variations, the work begins with a secondary
idea before gradually falling into the theme
nearing the end of the first movement. This
secondary idea is gradually developed over the

f

course of the work between the variations, both
informing them, as well as being informed by
the theme itself until the two become virtually
indistinguishable.

Born in Arizona in 1974, Christopher William
Pierce studied classical guitar before turning
to composition at Arizona State University, the
Peabody Conservatory, and the Aspen Music
Festival and School. His primary studies have
been with composers Christopher Theofanidis,
Justin Dello-Joio, John Corigliano and Chinary
Ung. He is currently a Doctoral student at the
University of Toronto under Gary Kulesha.

His awards include the Macht Orchestral
Composition Competition, the Virginia Carty
de-lillo Prize for chamber music, and the P.
Bruce Blair Award in Composition, as well as
fellowships and grants from the National Arts
Centre and the Leonard Bernstein Fund. His
works have been performed by many notable
ensembles Including I'Orchestre Francophonie
Canadienne, the Sao Paulo State Symphony,
Interrobang Ensemble, Proteus Ensemble, and
Quartato Invitato, to name a few. An advocate
of working closely with performers to create
new works, he has worked with many of the
leading artists of his generation including
soprano Kathryn Aaron, accordionist Ina
Henning, guitarist Rob MacDonald and cellist
Rebecca Turner. Among Christopher's recently
completed works are: Suite for Cello: Variations
on Wondrous Love; On a Poem of Baudelaire;
Images for String Quartet and Guitar: Evening
(Red Tree): and Suite for Guitar. His work is
performed frequently throughout the U.S.,
Canada, South America, Europe, and most
recently, New Zealand.

Birds of Eden (1981) for electric cello
and tape

ALGIRDAS MARTINAITIS

A constantly repeating rhythm pattern (like the
flickering of the imaginary Eden or fluttering
of bird's wings) follows the expressive solo
cello part. According to the composer, "this is
a flight over people's nest, elevated feelings,
relaxation, meditation". - Violeta Zilinskaite

"Once upon a time the Europeans were
sailing along the shores of India. Upon seeing
exotic birds, they decided that these are
Manug Devata, the divine birds..." - Algirdas
Martinaitis

Algirdas Martinaitis (b. 1950) studied
composition with Prof. Eduardas Balsys at
the Lithuanian Academy of Music, graduating
in 1978. In 1987-90 Martinaitis worked at
the Russian Drama Theatre, and in 1995-98

served as a music director at the Academic
Drama Theatre. He was among the first
Lithuanian composers to receive the highest
national artistic distinction — the Lithuanian
National Award — in 1989. In 1997, he was
hailed the Best Theatre Composer of the Year.

In 2004, his multimedia performance The —
Prayer of the Faithful Word was announced (1
the best electro-acoustic composition at
the composers’ competition organized by
the Lithuanian Composers' Union. His music
is heard regularly at new music festivals in
Lithuania and abroad, including the Baltic
Music Festival in Stockholm (1992), Vale of
Glamorgan Festival (1996, Great Britain),
Probaltica'97 (Poland), and MaerzMusik
(2003, Germany). Martinaitis often speaks
with irony of the striving for technical mastery
and absolutism of the composer's craft, and
calls his creative method "nonsystematic”
music or "writing by hand'. His "technique”
enables him to synthesize extremely diversified
material: sound world inherent in the
Lithuanian folk music, personal impressions
of the oriental cultures, theatrical gestures,
and "documentary" fragments of musique
concrete. According to the composer, the
synergy of verbal, musical and visual mediums,
with recognizable rhetorical figures acting as
unifying agents, are especially important in
his music. In the pieces of the past decade,
Algirdas Martinaitis has followed a new path
by inviting the music from the past with which
he feels spiritual affinity, rethinking and
commenting on the works of his favourite
composers.

Bringing The Tiger Down From The Mountain II

ALEXINA LOUIE

Alexina Louie's Bringing The Tiger Down
From The Mountain II for cello and piano
was commissioned as a test piece by the
1991 Canadian Music Competition with the
assistance of The Canada Council. The title
of this composition is derived from that of
a Tai-Chi position. An extremely passionate
composition, only five minutes in duration,
tests the performer's skill through its musical
challenges and technical difficulties, such as
double stop glissandi. There are also sections
of the piece which allow the cellist to control
the shape of the phrases by stretching them
out or compressing them according to the
performer's individual interpretation. There are
moments of eeriness and fragility, provoking
renowned cellist Fred Sherry of The Lincoln
Center Chamber Players to say he heard the
tiger crying and singing.

In Croce (1978) for bayan and cello

SOFIA GUBAIDULINA

Originally written in 1979 for cello and organ for
the Russian cellist Vladimir Toncha. this work
also exists in a later version (1991) for cello
f nd bayan (the Russian accordion) by Elsbeth
oser, a version approved by the composer. The
work's title means 'On the cross’ but refers also
to the 'crossing' parts of the two instruments.
The cello starts in the low register, gradually
ascending, the bayan in the high register,
finishing with a very low cluster - in the original
version the organ's bellows should be turned
off at the very end, creating the remarkable
effect of a general physical disintegration of
the sound. The cello part is microtonal at the
beginning and perfectly diatonic at the end while
the bayan part starts in a clear A major and
finishes with a kind of indistinct 'whispering'.

Icicles of Fire (2003)

HEATHER SCHMIDT

When I was composing this work. I imagined
icicles with little flames burning inside similar
to the way in which vivid images can be seen
within a crystal ball. I was intrigued and
inspired by the superimposition of these two
opposing elements. The contrasts of ice and

fire are vividly depicted in the music through
differences in register, texture, rhythm, tempo
and dynamics.

Around the time I was working on this piece,

I traveled to Iceland as part of the Governor
General's State Visit to Finland and Iceland. I
found Iceland to be very inspiring in itself, and
the title of "Icicles of Fire" was especially fitting
for the amazing landscapes in Iceland where
active volcanoes exist among ice and glaciers.

The composition is in two movements which
can be performed independently or together.
Separately, the movements are titled "Icicles"
and "Fire" respectively, and together, the
movements are performed as “Icicles of Fire”
without a break between movements. The first
section depicts icicles with delicate texture and
crystalline colors, and there are moments of
tension hinting towards the internally burning
fire. In the second part, the smaller flames give
way to a full-blown blaze and the music is a
highly energetic display of virtuosity for both
cello and piano.

This work was specifically written for, and
is dedicated to Shauna Rolston. "Icicles" alone
was premiered in Iceland on October 11. 2003
with Shauna as cellist and myself as pianist. The
premiere of the complete work was performed
in Calgary, on January 31.2004 with Shauna
and myself performing. - Heather Schmidt

Biographies

A native of St. Catharines Ontario, David
Hetherlngton is currently the Toronto
Symphony Orchestra’s Assistant Principal
Cellist. He received his musical training at the
Royal Conservatory of Music and the University
r * Toronto, and furthered his studies in New
k jrk, Italy and Germany with Claus Adam, Andre
Navarra and Paul Tortelier.

A member of the TSO since 1970. Mr.
Hetherington also teaches cello and chamber
music at the Royal Conservatory of music
and the University of Toronto. He coaches the
cello sections of the Toronto Symphony Youth
Orchestra and the National Youth Orchestra of
Canada, and is Music Director of the Inter-
Provincial Music Camp near Parry Sound,
Ontario.

As a soloist, Mr. Hetherington has
performed with the Toronto Symphony
Orchestra, the Saskatoon Symphony Orchestra,
the Niagara Symphony and the Symphony
Orchestra of Canada. As a chamber musician,
he has toured Canada, the United States,
Mexico and Europe, and has performed at the
Ottawa, Elora and Kincardine Music Festivals.

Mr. Hetherington is a founding member of

the Amici Chamber Ensemble, which presents
an annual series of concerts at the Glenn
Gould Studio in Toronto. He is also a founding
member of the string quartet Accordes, which
performs regularly for New Music Concerts
and other contemporary music organizations.
In 2001, the Canadian Music Centre, through
Centrediscs, released Accordes' recording
of Harry Somers' String Quartets, for which it
received a Juno Award nomination.

Mr. Hetherington has appeared on several
recordings for the CBC and for Centrediscs
with whom he made the Canadian premiere
recording of Talivaldis Kenins' prize-winning
cello sonata. In addition, he has recorded ten
discs with Amici for Summit Records, Naxos
and CBC records. His cello was made in 1695
by Giovanni Grancino.

An acclaimed solo performer, chamber
musician and teacher, Peter Longworth has
performed in Canada, the United States and
Europe. He has been soloist with the Chicago
Symphony, Calgary Philharmonic and other
Canadian orchestras. He has appeared at
the Caramoor Music Festival (New York), was

artist-in-residence and featured soloist at the
Icicle Creek Music Festival (Washington), and
plays annually at the Ottawa International
Chamber Music Festival. He is a founding
member of the Duke Trio that has performed
in New York, Chicago and throughout Canada.
He is heard often on CBC and his recordings
include a collaboration with cellist Amanda
Forsyth and a forthcoming Duke Trio recording
of Shostakovich and Copland. He teaches at
the Glenn Gould School of Toronto's Royal
Conservatory of Music, maintains a private
studio, and is in demand as chamber coach
and adjudicator at competitions and festivals.
He began his piano studies in Brussels
and completed his studies at the Royal
Conservatory with Marek Jablonski, Leon
Fleisherand Marc Durand.

Alexander Sevastian is three-time first
prizewinner of the International Accordion
Competition. He won the Oslofjord in Norway
(1998), The Cup of the North in Russia
(2000) and the Anthony Galla-Rini Accordion
Competition in the US (2001).

Alex was born in Minsk, Belarus and
began his studies on the accordion at the
age of seven. In 1991 he attended the Glinka
Musical College in Minsk. His advanced studies
took him to the Gnessin Academy of Music
in Moscow where he received his Masters in
Performance degree, studying with renowned
performer and pedagogue, Friedrich Lips.

While at the Academy, Alex also studied piano,
conducting and philosophy.

Alex began his professional career in
Moscow in 1996, performing with the Russian
Radio Orchestra. He has performed as recitalist
and soloist with orchestra throughout Russia,
Ukraine, Germany, Italy and Japan.

Alex and his family moved to Canada in
April 2001. In May 2003 he completed the
Advanced Certificate in Performance program
at the University of Toronto where he studied
with Quartetto Gelato’s previous accordionist
Joseph Macerollo.

Recognized as one of the most gifted
concert pianists and finest composers of
her generation, Heather Schmidt has been
described as "a brilliant virtuoso pianist”,
"poised and utterly musical”, “a great artist",
and “as much a pianist in the professional
sense as she is a composer".

Beginning her musical career at the age

of four, Schmidt became, at twenty-one, the
youngest student to receive a doctorate (piano
performance and composition) from Indiana
University. She subsequently completed two
years of professional studies at Juilliard in New
York City.

As a virtuoso pianist, Schmidt excels in
both traditional and contemporary repertoire.
Recent and upcoming performances include
solo recitals and concerto performances in
North America, Mexico and Iceland, as well
as a tour with cellist Shauna Rolston which
culminated with a tour of Quebec for Piano
Plus.

As a composer, Schmidt has held long¬
term and short-term composer-in-residence
positions around the world. In 2005 and 2006
eight of her works were premiered including
the critically acclaimed world premiere
performance of her Concerto No. 4 "Phoenix
Ascending” with the Calgary Philharmonic
followed by the Latin American premiere of this
concerto with the Mexico City Philharmonic.

Schmidt's many performance and
composition awards include first prize in the
Eckhardt-GramattS and the Canadian Concerto
Competitions, three consecutive BMI awards,
and the Robert Fleming Prize from Canada
Council. In 2003 she performed as part of
Canada's state delegation to Iceland and
Finland, was nominated for a Juno Award, and
won Opus Magazine's Best Classical CD award
for her solo piano CD “Solus”. “Shimmer", a CD
of solo piano music, was released in the Fall
of 2006. Ongoing projects include three more
CDs: the solo piano music of contemporary
American women composers, the rarely heard
music of Fanny Mendelssohn-Hensel, and
music for cello (Shauna Rolston) and piano. As
a result of Ms. Schmidt’s recent appearance
in recital on BRAVO Channel’s "The Classical
Now”, she has been commissioned to
compose the music for "Synchronicity” a film
(RedStar Films) for BRAVO which explores the
extraordinary creative partnership between
Heather and duo recital partner, Shauna
Rolston.

Originally from Calgary, Schmidt now
makes her home in Toronto. She is managed
by Michael Dufresne, President, Michael
Gerard Management Group (www.mgmg.ca).
This is Ms. Schmidt's fifth appearance with the
Montreal Chamber Orchestra. For updates and
additional information, please visit Heather’s
website at www.heatherschmidt.com.

NEW MUSIC FESTIVAL 2008

Dermis Patrick. coordinator

GEORGE TSONTAKIS

Rogot 0 Moore Dishnquislied Visitor in Composition

Jan 28

GRYPHON TRIO

Thu award-winning nio opens Ihe Festival with Gary
Kulesha Trio lor Horn, Violin and Piano 12004). Valentin
Silveslrov "Furjitive Visions of Mozart" (20071, Sludcnt
Compositions Irom Claude Watson School at Earl Haig
Collegiate and University of toionto Schools. George
Tsontakis Piano Quartet S3, (20051
7:30 pm, Walter Hall. S22tS14')

Jan 21)

TSONTAKIS AT THE COC
An introduction to ihe music ot George Tsontakis.
Excerpts Irom Knickknjcks lor violin and viola
Piano Quartet No 3 Ghost Variations lor solo piano
Performers to include the Giyphon Tim.

David Hetherington, Greg Oh. and Lynn Kuo
12 pm. COC Amphitheatre. Free

Jan 30

CONTEMPORARY MI1SIC FOR CELLO
David HellieriiKjton. cello: Peter Longworth. piano:
Alexander Sevastian accordion. Music by Elliott Carter,
Jacques Hetu. Alexina Louie. Algirdas Martinaitis.
Christopher Pierce. Sofia Gubaidulina and Heather
Schmidt.

7 30 pm Walter Hall. $22(SI4'i

> I

Jan 31

LECTURE RY GEORGE TSONTAKIS
12:10 pm. Walter Hall. Free

STUDENT COMPOSERS CONCERT
Woks by Sean Kiixj. Fiona Ryan, Elisha Denbutg. Lee
Paikm, Avalon Rusk, Constantine Catavassilis anil Kevin
Lau. |

7.30 pm Walter Hill Free

COMPOSERS FORUM

George Tsontakis discusses Ins music

7:30 pm. Geiger Torcl Room. Free

Jan 30

MUSIC FOR CLARINET & ELECTRONICS
Jean-Guy Boisvert, clarinet
Alexandre Burton. Radar’lor Clarinet and Digital
Signal Processing (2007): Sean Ferguson. An CuHoch
Ban lor Clarinet and Computer (2007). Laurie Radlord.
Delleotor lor Clarinet and Digital Signal Processing
(2003-06): 0 Andrew Stewarl ClannHs loi Claimet
anil Digital Signal Processing (2007). Scoll Wilson.
New Work Im Clarinet and Digital signal Processing
(2007)

12:10 pm. Walter Hall Free

FOR TICKETS. VISIT THE FACULTY OF MUSIC BOX
OFFICE OR CALL 416-978-3744

Feb 1

OPERA SCENES BY STUDENT COMPOSERS
Works by Scott Biubacher. Glenn James. Fiona Ryan.
Directed by Joel Ivany Conducted by Sandro Horst.
12:10 pm. Waller Hall Free |

KAREN KIESEI! PRIZE IN CANAOIAM MUSIC
PRESENTATION AND CONCERT
Featuring the Kieser Prize winning copiposihon
Ugliteningsby Fuhong Shi. Works by graduate
coinposeis Hiroki Tsuunnlo and.Lan Chee Lam. Pianist
Gieg Oh perlorms Tsontakis' Ghost Variations.

7:30 pm. Waller Hall, free

l I

Feb 2

UNIVERSITY OF TORONTO SYMPHONY ORCHESTRA
Featuring Tsontakis' Violin Concerto No. 2 \iith
violinist Erika Rnum
7 30 pm. MacMillan Theatre. S181S10)

ivu;i 11 \

Ml sir

l.\ UNIVERSITY-' TORONTO

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